Florida History & The Arts, Winter 2004

SUPPLEMENT TO FLORIDA TREND MAGAZINE

FLORIDA

PHILHARMONIC CENTER FOR
THE ARTS IN NAPLES

JACKSONVILLE’S NORMAN STUDIOS • FLORIDA ARCHAEOLOGY

BIG WATER HERITAGE TRAIL

BEGINNINGS ■

FOCUS ON

NEW

A s we welcome the New Year and look forward to the challenges that lie ahead, the Department of State
team is buoyed by the success of our efforts in 2003 to preserve and promote Florida's cultural and
historical resources. I thank everyone who attended the statewide Creating Opportunities for Quality
Communities workshops and appreciate your invaluable input. Summaries of those public meetings are
posted for review at http://coqc.dos.state.fl.us/summaries.cfm.

Last October I was pleased to announce that three of Florida's nationally significant historic properties were recipients
of a special $3 million emergency historic preservation fund appropriated by the 2003 Legislature. The Edison & Ford
Winter Estates in Ft. Myers, the Harry S. Truman Little White House in Key West, and the Norman Film Studios in
Jacksonville each received a portion of that appropriation which will aid not only in their preservation, but contribute
significantly to the development and prosperity of local economies and the sustainability of our communities. Jacksonville's
Eagle Film City/ Richard Norman Silent Film Studios also received a prestigious federal Save America's Treasures matching
grant in 2003 to support the preservation of this threatened cultural and historical treasure. In this issue, you will read more
about this nationally significant site.

The Florida Chamber of Commerce, the state's largest business group, has recently released New Cornerstone: Foun¬
dations for Florida's 21st Century Economy, a report detailing efforts to unify public-and private-sector efforts to energize
Florida's future economy. The New Cornerstone initiative builds upon previous studies and defines a new set of strategies
to guide the state over the next decade, emphasizing the need for cooperation
among Florida's government, academic and business communities. Among the
key strategies identified in this road map for the future of Florida's economy is
the importance of creative communities. For a look at Florida's future, I encour¬
age you to visit www.newcornerstoneonline.com.

The most exciting news is yet to come! From March 13 to April 15, the
Department of State, in association with the Office of the Governor, will cel¬
ebrate Florida Heritage Month, sponsoring special events encompassing his¬
toric preservation, archaeology, cultural, library and arts heritage in Florida. I
invite you to plan now to join the activities and celebrations of the many public
and private agencies throughout our state that will participate in Florida Heri¬
tage Month. Florida Heritage Month will provide us all the opportunity to rec¬
ognize the significance of Florida's rich and diverse history, and the contribution
it makes to our communities and our quality of life.

Yes, we are fortunate to live in Florida where many great initiatives are
recognizing the significance of art, culture, and history in our lives!

Glenda E. Hood
Secretary of State

TOP TO BOTTOM: COURTESY PHILHARMONIC CENTER FOR THE ARTS; RAY STANYARD; DIVISION OF HISTORICAL RESOURCES; SEMINOLE TRIBE OF FLORIDA, BRIGHTON TRADING POST

16

22

- V

- - m mm ; i

12

PHILHARMONIC CENTER FOR
THE ARTS IN NAPLES

With strong community support, the Philharmonic
Center for the Arts provides Naples with a cultural
center unlike any other in the country.

ARCHAEOLOGY IN FLORIDA

By Lawrence Webster

The State of Florida has made the preservation of
Florida’s archaeological resources a matter of public
policy for more than 75 years. Learn how state
archaeologists work to preserve and conserve
Florida’s archaeological heritage.

JACKSONVILLE'S NORMAN
STUDIOS

By Margaret Barlow

The Norman Studios in Jacksonville represent the
tangible evidence of the vital role that Florida played
in the creation and development of the movie
industry. Richard Norman films played a significant
role in African American history.

BIG WATER HERITAGE TRAIL

By Kerri L. Post

A guide into Florida’s heartland helps visitors explore
the region around Lake Okeechobee, the second
largest lake in the United States.

FRONT

cover FOCUS ON

on the cover: Philharmonic Center for the Arts. Photo by Carl J. Thome, Courtesy Philharmonic Center for the Arts.

m

i 1.0 k i n.\ g

HistoryC^ h Arts

Florida History & the Arts is
published quarterly by the
Florida Division of Historical
Resources and the Florida
Division of Cultural Affairs,
Florida Department of State.

GOVERNOR OF FLORIDA

Jeb Bush

SECRETARY OF STATE

Glenda E. Hood

DEPUTY SECRETARY, CULTURAL
AND HISTORICAL PROGRAMS
JuDee Pettijohn
ACTING DIRECTOR, DIVISION
OF HISTORICAL RESOURCES
Fred Gaske

DIRECTOR, DIVISION OF
CULTURAL AFFAIRS

Linda Downey

EDITOR

Susanne Hunt
GRAPHIC DESIGNER
Dee Dee Celander
CONTRIBUTING WRITER
Erin Long

CIRCULATION & MARKETING

Julie Weiler

Florida History & the Arts will be
included with the January, April,
July and October issues of Florida
Trend. Entire contents, copyright
2004 by the Florida Department of
State. All rights reserved. No part
of this magazine may be reprinted
without written permission of the
publisher. This material is available
in alternate format upon request.

For comments, questions or more
information, write:

Florida History & the Arts
Florida Department of State
Division of Historical Resources
500 South Bronough St.
Tallahassee, FL 32399-0250
phone: 1-800-847-7278
or visit: www.flheritage.com

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

FLORIDA

IN MY VIEW

LARRY EUGENE RIVERS

Over 27 years ago, when I came to Florida from Pennsylvania, I knew about as much of
the state and its past as the next fellow, which is to say that I did not know much beyond
sunshine, palm trees, and sandy beaches. My friend Michael Gannon puts the situation
this way: '‘For most newcomers, Florida history begins when they cross the state line.”

I did not really view Florida as southern. It existed on a different level or plane,
independently and determinedly. I had the eye of a critical professional historian. Still,
the legacies of the state’s experience surprised and fascinated me. Time’s passage re¬
vealed a compelling recorded saga that stretched over almost six centuries, from the

splendor of semitropical wilderness to the
reality of dynamic growth, supersonic
transportation, and unprecedented cul¬
tural diversity.

What amazed me most concerned the
vital and often remarkable contributions
of African Americans, an unheralded story
if ever there was one. Just to cite an ex¬
ample, for much of the 1800s African
Americans made up almost one-half of
Florida’s population. Some toiled — slave
or free — on farms and plantations; oth¬
ers literally helped to build Florida into the
r WSBS most urban state in the South. Cowhunters

roamed prairies; planters helped to pio-
lEl neer the citrus industry; and artisans and
mk f ] craftsmen created works for practical use

H| and of enduring beauty. Businessmen

' launched models of entrepreneurship,
mB&HHSHm while professional men and women edu¬

cated the young, protected rights before the law, and comforted ailing bodies and
souls. Moreover, gifted politicians fought to gain and keep a place at the bargaining
table as poets and artists breathed inspiration and insight. Recently, thanks to the
labors of dedicated historians and other lovers of Florida history, the stories of these
men and women have begun to come to light.

Especially during the past century, Florida has evolved into a place of limitless op¬
portunity. If I could tap those possibilities, it would be with the wish that all Floridians,
including transplants such as myself, could embrace the rich saga of Florida fully cloaked
in its mantel of diversity. A commitment of openness to learning about our state’s di¬
verse cultural and racial history would, I believe sincerely, aid us in loving this place that
we call home ail the more. Our differences have created our state as we know it; they
can serve us in making Florida an even greater state in the future.

LARRY E. RIVERS, Dean of the College of Arts and Sciences and Distinguished University
Professor of History at Florida A&M University, earned his B.S. in Social Science Education
from Fort Valley State University, M.A. in History and Political Science from Villanova
University, Ph.D. in Cultural Studies from the University of London, and D.A. in American
History and Curriculum Development from Carnegie Mellon University. He is author, co¬
author or co-editor of: Slavery in Florida: Territorial Days to Emancipation; Laborers in the
Vineyard of the Lord: The Beginnings of the AME Church in Florida 1865-1895; Lays in
Summer Lands, John Willis Menard; and The African American Experience. In 2001 Rivers
received six book awards for his seminal work on slavery in Florida.

FLORIDA HISTORY & THE ARTS

2

RIGHT TOP AND BOTTOM: ERIC DUSENBERRY; LEFT: COURTESY HISTORIC BOK SANCTUARY

SPECIAL SECTION SPONSORED

BY THE

FLORIDA DEPARTMENT OF STATE

NEWS & NOTES

Historic Bok Sanctuary
Celebrates 7 5 Years

H ISTORIC BOK SANCTUARY, a Florida icon and National Historic Land¬
mark located near Lake Wales on peninsular Florida’s highest point, cel¬
ebrates its 75th anniversary throughout 2004. A rededication ceremony
scheduled for Saturday, February 7 will even include a number of visitors
who were present at the original dedication in 1929.

Created by Edward W. Bok, influential editor of The Ladies Home Journal , a Pulitzer Prize-winning author, humanitarian,
philanthropist and advocate for world peace and the environment, the Sanctuary was his gift of gratitude to the American
people for the opportunities he was given as a Dutch immigrant. President Calvin Coolidge dedicated Mountain Lake Sanc¬
tuary and Singing Tower in February 1929. Now known as Historic Bok Sanctuary, it encompasses nearly 250 acres of gar¬
dens and grounds. Since its dedication more than 23 million visitors have experienced its beauty and serenity.

The historic landscape gardens were designed by Frederick Law Olmsted, Jr. The visual centerpiece of the garden is a
majestic 205-foot-tall marble and coquina bell tower which houses a 60-bell Taylor carillon. The International Carillon Fes¬
tival, February 28 through March 7, will feature carillonneurs from Belgium, the Netherlands, Kentucky and California, as
well as retiring resident carillonneur Milford Myhre and assistant carillonneur William De Turk. During the special 75th an¬
niversary concert series, a moonlight recital will be performed the evening of March 4.

Historic Bok Sanctuary, 55 miles southwest of Orlando near Lake Wales, is open daily from 8 a.m. to 6 p.m. The Edu¬
cation and Visitor Center is open 9 a.m. to 5 p.m. Admission is $8 ages 13 and up, $3 ages 5 to 12. For more information,
call 863.676.1408 or visit www.boksanctuary.org.

President and Mrs. Coolidge and Mr. and Mrs. Edward Bok at 1929 dedication.

WINTER 2004

3

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

NEWS & NOTES

Florida State Fair Celebrates a Century

T he 2004 Florida State Fair takes place February 5 to 16 at the Florida State Fairgrounds in Tampa. The roots of the
annual Florida State Fair stretch back to 1904 when Governor William S. Jennings presided over the first grand
event and festivities of the South Florida Fair Association in Tampa. In 1975, the Florida Legislature created the
Florida State Fair Authority and designated the annual event in Tampa the official Florida State Fair. The 325-acre

• mg.'

w %

ver 60 Highwaymen paint¬
ings will be on display at
venues throughout Tallahas¬
see between February 21
and May 23. In the 1950s a
group of African American artists from Ft.

Pierce, now known as “the Highwaymen,”
began developing their talents with the
support and encouragement of local land¬
scape artist A.ECBean” Backus. Primarily
self-taught, these artists traveled Florida
roads, stopping in small towns to sell their
paintings to motels, banks, and doctor
offices. Their Florida landscapes are now
seen as an important collection of 20th-
century artwork. The Tallahassee exhib¬
its, produced by the Orange County
Regional History Center, feature the works
of 24 Highwaymen aitists from the col¬
lection of Geoff Cook.

THE HIGHWAYMEN: FLORIDA’S AFRICAN AMERICAN LANDSCAPE ARTISTS
February 21 to May 23 TALLAHASSEE MUSEUM, Phipps Gallery, 3945 Museum Drive.

Call 850.575.8684 or visit www.tallahasseemuseum.org.

February 21 to March 31 TALLAHASSEE AIRPORT GALLERY, sponsored by the Cultural Resources Commission.

April 8 to May 23 MUSEUM OF FLORIDA HISTORY, Florida Department of State,

fairgrounds facility where today’s event takes place opened in February 1977.

Florida State Fairgrounds is also home to the Doyle Carlton Jr. Cracker
Country Rural Florida History and Folklife Museum, which comes to life in
February, providing guests an opportunity to relive the lives of Florida’s early
pioneers. Cracker Country represents Florida community life from the rustic
cypress log corn crib and barn to the grand two-story Carlton House that was
the boyhood home of Florida’s 25th governor, Doyle E. Carlton. Cracker Coun¬
try buildings are authentic, dating from 1870 to the early 1900s.

For information and a schedule of Florida State Fair 2004 events, call
1.800.345.FAIR, or visit www.floridastatefair.com.

R.A Gray Building, 500 South Bronough Street.
Call 850.245.6400 or visit www.flheritage.com.

4

FLORIDA HISTORY & THE ARTS

COURTESY DIVISION OF HISTORICAL RESOURCES

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

1 5 T H ANNUAL ZORA NEALE HURSTON FESTIVAL

One of North America's
100 Best Events for 2004

rom January 28 to February 1, the annual five-day celebration of the
heritage of the Central Florida community of Eatonville will provide
what the American Bus Association recently deemed a “don’t miss
entertainment value,” designating the 15th Annual Zora Neale Hurston
Festival one of North America’s 100 best events for 2004. The multi¬
disciplinary event features an array of entertainment, educational workshops,
lectures, concerts and theatrical performances, and the popular Street Festival
of the Arts.

The 15th Annual Zora Neale Hurston Festival recognizes “Creativity in the
Zora Neale Hurston Tradition,” focusing on the visual arts of photography and
film. Among participating artists will be photographers Carrie Mae Weems,
Dawoud Bey, Lonnie Graham and Deborah Willis. The Festival ’04 Awards Gala
will honor pioneer photojournalist and filmmaker Gordon Parks along with visual
artists Elizabeth Catlett and Samella Lewis.

For more information call 407.647.3307 or visit
www.zoranealehurstonfestival.com.

Ormond Beach

J ust over 100 years ago on March 28, 1903, the
Winton Bullet and Olds Pirate raced down
the hard packed sands of Ormond Beach,

Florida, to begin a tradition in motorsports
that continues today at nearby Daytona In¬
ternational Speedway. Annual speed
tournaments that took place in the eight years fol¬
lowing that historic race would produce numerous
American and world speed records, securing Ormond
Beach’s position as the best straightaway in the world.

The ideas that the inventors shared on the beach would lead
directly to America becoming a motorized society.

On January 30 and 31, Ormond Beach will honor that legacy and the eight world records set by William K. Vanderbilt
in his Mercedes and the three records for lightweight vehicles set by the Packard Grey Wolf. Time Trials events at Granada
Beach Approach are free to spectators. The Birthplace of Speed Festival and Show takes place in Fortunato Park, Saturday
January 31 from 1 to 3 p.m. For more information call 386.676.3241 or visit www.birthplaceofspeed.com.

WINTER 2004

5

P H I L H A R M 0

for t h

Celebrating its 15th anniversary this year, the Philharmonic Center for the Arts in Naples
attributes all of its success to the generosity of its community. What began as a cam¬
paign to save a struggling orchestra in 1983 soon blossomed into Southwest Florida's
premier cultural facility, with a world-class performing arts center that hosts more than
400 events a year. Today, the Philharmonic Center for the Arts is unlike any other arts
center in the country, presenting the best of the visual and performing arts in a single

Hans Hofmann: A Retrospective, Still Life with Fruit and Coffee Pot (1940), oil on panel, Robynn and Robert Sussman Collection

NIC CENTER
e ARTS

cultural complex. With a mission to enrich the cultural fiber of Southwest Florida by presenting arts
events of international caliber and by offering outreach and education programs for the community, the
Philharmonic Center reflects the soul of Naples. It serves as the official home of the Naples Philhar¬
monic Orchestra and recently expanded to include the Naples Museum of Art. Through strong commu¬
nity support, the "Phil" continues to grow each year in both attendance and the number of performances.
Since it first opened its doors, more than four million people have passed through them.

PHOTOGRAPHS COURTESY PHILHARMONIC CENTER FOR THE ARTS

7

PHILHARMONIC CENTER for the ARTS

support has been miracu-
|is,” says founder and CEO Myra Janco
Jniels. “I’ve never asked anyone for a
of money but I’ve painted a pic-
|e of what a contribution might do
a comrJHhity.” Daniels, a former
a ^t rtisin £Jr ecutive anc * educator w kh
a long-standing interest in the arts,
launched a fundraising campaign in
1983 to help the then-fledgling Naples/
Marco Philharmonic Orchestra. The
phenomenally successful campaign
eventually led to the construction of the
Philharmonic Center, which opened in
November 1989. The 90,273-square-foot
center was built at a cost of $19-5 mil¬
lion and opened 93 percent debt-free.
Because of the community’s over¬
whelming support, the Phil continues
to grow in net worth each season. It is
currently a $102 million corporation with
a staff of 250 full- and part-time employ¬
ees and several hundred volunteers.

Located on 8.5 acres in Pelican Bay,
the Philharmonic Center was designed
by the renowned architect Eugene
Aubrey, whose credits include the
Wortham Theater Center in Houston,
Texas. The Phil’s centerpiece is Hayes
Hall, a 1,425-seat hall with superb
acoustics and a 2,956-square-foot stage.
The Daniels Pavilion, a smaller and
more intimate, 200-seat “black-box”
theater, is suitable for chamber music,
cabaret, and theater-in-the-round. The
performing arts center also includes
four museum-quality art galleries,
which showcase exhibitions for patrons
during intermissions. Recent exhibits
have included prominent artists such
as Dale Chihuly, Robert Rauschenberg,
Pablo Picasso and Henry Moore. The
galleries received such a positive re¬
sponse from audiences that the Phil¬
harmonic Center decided to expand its
visual arts programs and opened the

Dale Chihuly, Red
Chandelier (2000), blown
glass. Figge
Conservatory, Naples
Museum of Art

Modern Mexican Masters, Fernando
Castillo, El Tunero (The Prickly Pear
Picker), (1935), oil on canvas

The museum is a visual arts center for people of all

ages and backgrounds, and reflecting varied interests
and nourishing the soul of its community.

Naples Philharmonic Orchestra

(ca. 1875), wool, cotton, metal

8

FLORIDA HISTORY & THE ARTS

f

Naples Museum of Art, the community’s
first full-scale art museum, in 2000.

Although the Philharmonic Center’s
heaviest season occurs between Octo¬
ber and April, events are offered year-
round, including summer childrens
presentations and programs for groups
and schools. With a commitment to life¬
long learning and educational outreach,
the Phil offers a full schedule of educa¬
tional programs, lectures and seminars
for people of all ages. Visiting profes¬
sors, music educators, and artists pro¬
vide opportunities for adults to enhance
their appreciation of the musical, visual
and literary arts.

The Naples Philharmonic Orchestra

T he Philharmonic Center’s resi¬
dent orchestra, the Naples Phil¬
harmonic Orchestra, originally
debuted in 1983, performing at
churches and local schools. Since the
opening of the Philharmonic Center in
1989, the orchestra has grown into an
internationally recognized ensemble
and its musicians come from all regions
of the United States, Europe, China and
Russia. In the Phil’s first six years, the
Naples Philharmonic Orchestra pro¬
gressed from a debt of $17,300 to ac¬
quired assets of more than $13 million.

With a mission to provide South¬
west Florida with a steady and eclectic
diet of classical and pops concerts, fea¬
turing world-class soloists, conductors
and accomplished musicians from
around the world, the orchestra strives
to grow in artistic excellence each sea¬
son, increasing its repertoire and add¬
ing challenging programs designed to
stimulate and enrich audiences of all
ages. The orchestra reaches out with
special community and school pro¬
grams and presents an extensive series
of educational programs each season
for children of all ages.

The 85-piece Naples Philharmonic
Orchestra performs more than 150 con¬
certs each season including classical,
pops, ballet, chamber and family pro¬
grams. The orchestra accompanies Ed¬
ward Villella’s Miami City Ballet each

9

PHILHARMONIC CENTER for the ARTS

Clement Greenberg: A Critic's Collection

Jack Bush, Jump Up / 2 (1972), acrylic on canvas

season for George Balanchine’s The
Nutcracker and the ballet’s repertoire
series, performed January through
March. In recent years, the orchestra
has been invited to accompany re¬
nowned artists including Luciano
Pavarotti, Andrea Bocelli, Kiri Te
Kanawa, Dmitri Hvorostovsky and the
Monte Carlo Ballet. Adding to the
breadth of the orchestra is the 120-
voice Philharmonic Center Chorale
founded in 1991, the Philharmonic
Youth Chorale established in 1998, and
the Philharmonic Youth Orchestra,
which recently debuted in 2002.

The Naples Museum of Art

T he newest addition to the Phil¬
harmonic Center is the Naples
Museum of Art, the area’s first
full-scale art museum, which
opened to the public in November
2000. Another reflection of the unique
spirit and generosity of the Southwest
Florida community, the museum is a
visual arts center for people of all ages
and backgrounds, and reflects the var¬
ied interests and wishes — and nour¬
ishes the soul — of its community.
The three-story, 30,000-square-foot

With a commitment to lifelong learning and

educational outreach, the Phil offers a
full schedule of educational programs,
lectures and seminars for people of all ages.

Bill Brandt: A
Retrospective

Bill Brandt,
Nude, East
Sussex( 1975)

museum features 15 galleries which
showcase a variety of works by ac¬
claimed artists from around the world.
Built at a cost of $10.6 million, the mu¬
seum features a glass-dome conserva¬
tory, a 10-foot-wide icicle chandelier
designed by world-renowned glass
sculptor Dale Chihuly, and entrance
doors created by celebrated metal art¬
ist Albert Paley.

The museum is dedicated to display¬
ing world-class painting, sculpture,
drawing and other art forms, while pro¬
viding educational programs and lec¬
tures. Among the permanent holdings
of the museum are an extensive collec¬

tion of ancient Chinese art, a major col¬
lection of American paintings and
drawings from the first half of the 20th
century and the new Poliak Collection,
a wide-ranging collection of modem
Mexican art, which includes paintings,
murals, tapestries and other works, rep¬
resenting a number of important move¬
ments in Mexican art. The collection
includes works by such masters as Di¬
ego Rivera, David Alfaro Siqueiros and
Jose Clemente Orozco.

The museum also hosts world-class
traveling exhibitions. This season, the
museum will display Hans Hofmann:
A Retrospective , the first major retro-

10

FLORIDA HISTORY & THE ARTS

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

Masters of
Miniature

Doge's Palace,
Senate Chamber,
The Carole and
Barry Kaye
Collection

Ruth Harriet
Louise and
Hollywood
Glamour
Photography
Joan Crawford as
Hamlet ( 1929),
Photo courtesy of
John Kobal
Foundation

Karsh Portraits, Ernest Hemingway (1957)

spective of modern artist Hans
Hofmann (1880-1966) in more than a
dozen years. Hofmann is regarded as
one of the giants of modernist painting
and a key figure in the evolution of
American abstraction in the second half
of the 20th century. The retrospective
surveys Hofmann’s career as a painter,
bringing together more than 70 works
spanning five decades.

With plans to expand the Naples
Museum of Art’s permanent collection
and continue to add programs, the
steady growth of the Philharmonic Cen¬
ter for the Arts shows no signs of slow¬
ing down. Myra Janco Daniels attributes
its success to its clear vision, generos¬
ity, diversity and fiscal responsibility.
Looking back on the accomplishments
of the past 15 years, she says, “I am so
grateful because it took a lot of people
giving with their heart and soul. A com¬
munity without the arts suffers and
when you can bring that home your
job is very easy.” f?i

To Learn More

Visit the Philharmonic Center for the Arts
at 5833 Pelican Bay Boulevard in Naples.
Call 1 -800-597-1900, or visit
www.thephil.org.

1 1

WINTER 2004

STEWARDSHIP OF A PUBLIC

Florida

Archaeology

FROM TOP LEFT:
Newnan point of

Fossil coral,

2,000 - 3,000 B.C;

% |

^Natural coral mold,

4 ■ -

Spanish sword hilt,

Ca 1715 Fleet,
recovered near
Sebastian; 1600s 4

ft

bronze cannon
recovered off
American shoals.

BY LAWRENCE WEBSTER • PHOTOGRAPHY BY RAY STANYARD
ARTIFACTS FROM THE COLLECTION OF THE MUSEUM OF FLORIDA HISTORY

Over 12,000 years ago, much of the earth’s water was
tied up in glaciers. Here in Florida, the climate was
cool and dry; the Gulf Coast was 100 miles farther west
than it is today. People lived here then, and have done
so continuously ever since. Between 12,000 and 10,000
years ago, the glaciers began to melt, and peninsular
Florida began to look much as it does today. How did
Florida’s prehistoric people live? How did they adapt
to changing weather and environment? What did they
eat? Where did they live? How did they organize their
societies? How did they react to the Europeans who
landed 5 00 years ago? What can we learn from them?

These are some of the questions that archaeology can answer. Archaeology is the
study of the human past as revealed through objects in place rather than through
documents. It is a thriving endeavor in Florida, where there are thousands of
sites with evidence of early human habitation.

These riches have attracted professional archaeologists since the 19 th cen¬
tury, when scholars from Harvard and Yale explored the Gulf Coast and the St.
Johns River. Amateur archaeologists and treasure hunters have also been drawn
to Florida. As recently as the 1960s, school children, visitors, and enthusiastic
amateurs could pick up Stone-Age tools and artifacts from ceremonial mounds
and other sites throughout the state. Many important sites and uncounted arti¬
facts have virtually disappeared with very little record.

1

Clay pipe
British Period
1763 - 1783

State participation helps preserve archaeological resources

The State of Florida has made the preservation of Florida’s archaeological resources a matter
of public policy for more than 75 years. The State Conservation Department worked with
the federal Works Progress Administration during the 1930s on excavations of large sites on
both coasts. The Florida Park Service operated a state archaeological survey from 1946 to
1953, when public archaeology became the province of the Florida State Museum (now the
Florida Museum of Natural History) in Gainesville.

The National Historic Preservation Act of 1966 strengthened public archaeology throughout
the nation. The act mandated the identification, evaluation, and recording of important
historical and archaeological resources. Florida responded with the appointment of a State
Archaeologist in the Department of State and enactment of Chapter 267, Florida Statutes ,
concerning historical resources and F.S. 872.05, concerning unmarked human burials. Since
1970, stewardship of archaeological resources has been a major program of the Department
of State (DOS). Today, DOS public archaeology operates under administrative chief Brenda
Swann and State Archaeologist David C. Dickel.

WHAT SHOULD X DO IF I FIND
AN ARTIFACT?

People often wonder what to do if
they come across a pottery sherd,
projectile point, or old bones on
their land. With the exception of
unmarked human burials, DOS has
jurisdiction only over state-
owned lands. In the case of other
archaeological artifacts, DOS
archaeological personnel will
advise and refer individuals to
local resources to help them
identify and preserve artifacts.

Kang Hsi Chinese
porcelain «

1715

The Site File - the place to start

State and federal law mandate that Florida maintain an inventory of all known
historic structures and archaeological sites. The Florida Master Site File is a com¬
prehensive listing of more than 100,000 public and private historical and archaeo¬
logical sites, including 22,000 archaeological sites and 105,000 historical structures.
More than 7,000 sites are added to it annually. Voluntary efforts started a site file in
the early 20th-century; it grew with the state archaeological survey of the 1930s,
and has been a major program in the DOS since the 1960s. Data are now in
electronic form, searchable by county and site. Geographic Information System
(GIS) applications are in development. The Site File is available to developers
wishing to preserve important sites on their land, scholars engaged in research, or
interested citizens. The archive is maintained in Tallahassee. Information on its use
is available at http://dhr.dos.state.fl.us/msf/, or www.flheritage.com.

Site stewardship and artifact conservation

The archaeological value of an artifact is greatly diminished when it is removed
from its original location without proper documentation. Brenda Swann explains,
“Items are much more valuable when they remain on site than when they are taken out of
context. For example, when we look at a pottery sherd or stone tool in place, we ask, what
was its purpose? Was it related to diet? Are there remains of plant or animal material near it?
Can we tell how it was made? Is it near a burial site? Are there similar sherds or tools in
other parts of Florida or the nation—can it tell us about migration patterns? Once
the artifact is removed, we can no longer gain answers to those questions.”

jjL Archaeological sites are nonrenewable resources

The primary responsibility of the state archaeology program is man¬
agement of archaeological sites on state lands. Because state lands
are purchased for resource protection as well as recreation and
other public use, archaeological sites may have to be profes-
3| sionally excavated to provide that access. Additionally, archaeo¬
logical investigations are conducted on sites to provide
interpretation for the public and add to the body of research.
Founded in 1970, the state’s Archaeological Research
and Conservation Laboratory curates millions of objects
covering 15,000 years of Florida’s past, excavated from state
lands, that cannot remain on site. Most are iron or other

FLORIDA HISTORY & THE ARTS

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

I

metals. From cannons to pots, they go through electrolysis baths to remove salts and
rust prior to preservative coating. Early wooden artifacts, from prehistoric canoes to
Spanish ship fittings, are preserved with polyethylene glycol coating and other
techniques. The collection has an active lending program, working with local
museums and historical societies so that these educational and cultural resources
are accessible to the public.

To better protect archaeological sites and the context of artifacts from being
disturbed, DOS has developed active partnerships with other state agencies, in
particular the State Park Service, and training for their personnel on how to identify
and preserve sites. In addition, the department advises private landowners on how
best to preserve archaeological materials. (The Best Management Practices handbook
is in PDF format at http://www.flheritage.com/culturalmgmt/.) The DOS conducts fre
quent classes and can provide individual one-on-one advice and counsel.

Thanks to the combined efforts of the DOS public archaeology program, professional ar¬
chaeologists at such institutions as Florida State University, the University of West Florida and the
University of Florida, associations such as the Florida Anthropological Society and Florida Ar¬
chaeological Council, and thousands of interested laypeople, archaeological sites in Florida
continue to reveal rich and fascinating information about the early inhabitants of Florida, ffi

Anthropomorphic
ceramic pot
1100-1200
Okaloosa County

capital of the mission system in La Florida from 1656 to 1704 with
over 1,400 Apalachee Indians at the hilltop mission center and sur¬
rounding farmsteads. Also the residence of a governor, religious, and
military personnel and families. Except for a few Spanish cattle ranch¬
ers scattered across the landscape, colonists lived near the center of
San Luis in a community described by one chronicler as having the
appearance of a small Spanish city. Designated a National Historic
Landmark, October 1960. http://dhr.dos.state.fl.us/bar/san_luis/
index.html

miles north¬
west of Crystal River on U.S. 19-98. Consisting often temple, burial,
shell, and sand mounds. Crystal River Site is a complex ceremonial
center and burial site. Site was occupied during the Deptford, Weeden
Island, and Safety Harbor prehistoric periods. This site has played a
significant role in the development of archaeological method and

' mm ’ mm

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To Learn More

Florida Department of State, Archaeological Programs

R.A. Cray Building, 500 S. Bronough Street, Tallahassee, FL 32399-
0250, 850.245.6444, www.flheritage.com

National Park Service Southeast Archeological Center

cated in western Jefferson County and managed by the Florida Divi¬
sion of Recreation and Parks (DRP), this park includes one of the
tallest mounds (over 40 feet in height) in Florida, surrounded by
smaller mounds and a village. Recent excavations by DOS indicate
that the site dates to the early Weeden Island Period (ca. A.D. 200
- 1000), making it possibly one of the oldest mound complexes in
Florida. DOS is currently working with the Florida Park Service to
develop interpretive materials for the park.

FLORIDA’S UNDERWATER ARCHAEOLOGICAL PRESERVES.

Florida's shipwreck preserves are living museums in the sea, with
interesting archaeological features, and abundant marine life. Each
site is interpreted by an underwater plaque; a brochure and lami¬
nated underwater guides are available from local dive shops. The
parks are open to the public year-round, free of charge. Visit http:/
/dhr.dos.state.fl.us/bar/uap/ for preserve locations.

www.cr.nps.gov/seac/

Florida Anthropological Society

www.gravesmuseum.org/FAS.html
Dedicated to both professionals and amateurs. More than
15 local chapters. Trains and coordinates volunteers;
vides information, conferences, lectures.

.i

BILL PICKETT

WORLD'S COLORED CHAMPION.//*

THE BULL-DOGGER

Featuring The Co/ored Hero of the Mexican Bull Ring
in Death Defying Feats of Courage and Skill.

THRILLS! LAUGHS TOO!

Produced bq NORMAN FILM MFG. CO.

JACKSONVILLE, FLA.

wsBmimmmmm

In the early years of the 20th century, New York, not California, was the home of the film industry. Moviemakers needed
a winter headquarters, and Jacksonville was a logical choice. The warm weather and exotic locations that had made
this southern transportation hub a popular winter resort attracted many moviemakers. Following the lead of Kalem
Studios, which opened its doors there in 1908, more than 30 silent film studios found Florida's largest city hospitable. For
the next decade, Jacksonville was a moviemaking center. Metro Pictures, later MGM, first opened its doors there in
1915. Oliver Hardy began his career in Jacksonville. Florida studios turned out scores of silent movies. Romantic

southern stories were filmed on location in nearby plantation homes amidst the hanging Spanish moss. Cheaper labor
meant that “extras" for popular "mob scenes" cost half as much in Jacksonville as in New York City. Southern California's
pleasant climate and big open spaces proved formidable, however. By the late teens the large studios were heading west.

PRESERVING FLORIDA'S FILMMAKING HERITAGE

The Norman Film Mfg.Co

PBESfiNTS

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

Hollywood, California, had emerged as the major movie production center by 1920, when
Richard E. Norman purchased the bankrupt Eagle Film Studios complex in Arlington.
Just across the river from Jacksonville, Arlington is now a part of that city. Norman, who
was white, is remembered for making a string of silent movies starring black actors. Be¬
tween 1920 and 1928 at least eight features were produced at Norman Studios in Arlington.

RICHARD E. NORMAN THE FILMMAKER

Richard Norman was a traveling filmmaker for a decade before returning home to Florida.
For several years the Springfield, Florida native earned a living by producing small com¬
edies for Midwestern audiences starring their own local talent. In 1916 he
achieved wide release for a full-length movie, The Green-Eyed Monster. It
was a popular drama of romance and deception set in the railroad in¬
dustry. Perhaps taking his cue from several black filmmakers who were
finding success, Norman remade the film with an all-black cast.

It is not clear why Norman began making films for African Ameri¬
can audiences. Most notable is that he portrayed his subjects with
respect. Black actors in films of the day generally were reduced to
playing stock characters—comical, stereotypical, and unflattering. The
“race” movies, as they were known, that Norman wrote and produced,
like those of his African American contemporaries such as the Lincoln
Motion Picture Company and Oscar Micheaux, were different. Instead of
degrading racist travesties, these were positive stories featuring black actors de¬
scribed in Norman’s publicity as “splendidly assuming different roles.”

Norman Studios made silent pictures. These were cheaper to produce than the talkies
that overtook the industry by the late 1920s. Besides attracting many accomplished stage
actors to perform in his films, Norman featured other talented African Americans of the day.
The Bull Dogger (1921), a western shot in Oklahoma, gave eastern and southern black
audiences an opportunity to see black cowboys
in action, including the famous rodeo rider Bill
Pickett. The Flying Ace (1926), an action-romance
filmed in the Arlington studios, played off the
interest in contemporary black aviators such as
Eugene Bullard and Bessie Coleman. Sadly,

Coleman, the first black woman licensed pilot,
famous for her “heart thrilling stunts,” made news
in April of that year when she died in a fiery
crash over Jacksonville.

Although he never converted the studio to
make “talkies,” Norman invented a device to co¬
ordinate film and sound. He sold a few in Holly¬
wood, but his did not become the industry
standard. For the next two decades, Norman Stu¬
dios distributed and promoted Hollywood fare,

“race” and Joe Louis fight films.

Most of Norman’s full-length movies now are lost. His son, Richard Norman, Jr., has
donated photographs, records, and other memorabilia to several institutions. Photographs
and some original equipment from the studio are on display at Jacksonville’s Museum of

1 8

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^Thrilling Epic* *»>« OH Fields
WITH ALL COLORED CAST

One of the True Stories of
Living Colored Examples

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At a time when most films portrayed African Americans using

FLYING ACF

ALL COLORED CA!

The Neman Studios Present the Super Feature Photoplay

The Flying Ace

SENSATION OF THE YEAR

A Smashing Photo Play

Lawrence Criner awl Kathryn
Bovd. Original Lafayene Play¬
ers. Steve Reynolds. "?t&"
Alfred Norcom. United States
Marshal. L B. Tatums and the
Entire City of Tatums. OWa.

Harold Plans. Uons Daniels. George Colvin. Sam Jordan
Or. R. L Brown and Steve Reynolds. "Pea."

SIX SMASHING REELS.

ALL COLORED CAST.

negative stereotypes, black characters featured in the films
of Richard Norman were portrayed with dignity and respect.

Sfim

THE NORMAN FILM M'F'G CO.

PRESENTS

THE CRIMSON SKULL

BAFFLING WESTERN MVSTERy PHOTOPLAy

CO-STARRING

ANITA BUSH , awocllreru^kn, t

LITTLE MOTHER OF COLOREO DRAMA LAWRENCE CHENAULT

Supported by BILL PICKETT, World's Champion Wild West Performer
The One Legged Marvel, STEVE REYNOLDS and 30 Colored Cowboys

ALL COLORED CAST J~co. 6 SMASHING REELS

JACKSONVILLE, FLA.

Jacksonville's warm weather and exotic
locations attracted many moviemakers.

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

To Learn More

Visit the Museum of Science
& History, 1025 Museum
Circle, Jacksonville,
904.396.6674, http://
www.themosh.org/.

Visit the Museum of Florida
History movie poster collec¬
tion at http://
dhr.dos.state.fl.us/museum/
movie-posters/.

Old Arlington, Inc. and the
Norman Studios historic
preservation project, contact
Ann Burt, 904.721.0708.

Black Film Center and
Archive, Indiana University,
visit http://

www.indiana.edu/~bfca/.

UNCF/Richard E. Norman
Scholarships, visit
www.myflorida.com.

Part Three will follow
immediately.

MOSH, Jacksonville's Museum of Science and
History film industry exhibit.

Science & History. Records and other materials from
the Norman Studios were given to the Black Film
Center and Archive at Indiana University. Some re¬
sources, including a rare copy of The Flying Ace,
reside at the Library of Congress in Washington, D.C.

NORMAN STUDIOS AND OLD ARLINGTON, INC.

After Arlington resident Ann Burt discovered the
hidden past of the old wooden buildings in her
neighborhood, she resolved to share their history.

As a focus of Old Arlington, Inc.’s (OAI) commu¬
nity revitalization effort, she and other members of
the organization succeeded in saving the site. “It
won’t be easy,” Burt acknowledges. The plan is to
stabilize and restore the buildings first. Next, they want to create a film history and learning
center as part of a broader, area eco-heritage program to attract tourists.

“We want people to know Florida’s role in the establishment of the movie industry,” says
Burt. “More than that, we want to tell the story of the African American movie experience as
Richard Norman presented it. Besides providing entertainment for African American audi¬
ences, his films such as The Flying Ace and The Bull-Dogger served as an antidote to the
racism of the times.”

Last April, the city purchased four of the original Norman Studios buildings. The struc¬
tures that once housed sets, props, a 1905-vintage generator, and other moviemaking facili¬
ties have seen other uses since Norman’s death. The old production building still contains
the original darkroom, screening and projection rooms, and walk-in safe for storing films.
Water scenes were filmed in a swimming pool now buried on the site. OAI has efforts
underway to obtain funding and support to begin needed restoration and preservation
activities.

Florida’s role in the history of film is being commemorated by several dedicated indi¬
viduals and institutions. A new scholarship program honors Norman’s legacy and celebrates
filmmaking in the state today.

UNCF/NORMAN SCHOLARSHIPS

Last February, Governor Jeb Bush announced the creation of the UNCF/Richard E. Norman
Scholarships. The film scholarship program is sponsored jointly by the United Negro Col¬
lege Fund (UNCF), the American Black Film Festival, and the Governor’s Office of Film and
Entertainment, which promotes film production in the state. The American Black Film Fes¬
tival organization is dedicated to supporting the cinematic work of black filmmakers.

These awards will “provide an opportunity for three Florida students to attend one of
Florida’s world class film schools,” said Governor Bush. Students from three historically
black colleges in the state—Bethune-Cookman, Edward Waters, and Florida Memorial—
who wish to pursue film studies are eligible. The scholarships may be used for study at the
University of Miami School of Communication, the University of Central Florida’s Zora Neale
Hurston Institute for Documentary Studies, and the Florida State University Film School.

Richard Norman, Jr., believes that it would mean a lot to his father to learn that the
almost forgotten past—and the future potential—of Florida’s film industry are being brought
together through his name. While Old Arlington, Inc. is generating interest and excitement
to bring the state’s filmmaking history to life, the UNCF/Norman scholarships are providing
the tools to inspire a new generation of black Florida filmmakers,

WINTER 2004

21

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

ake Okeechobee has long been known for its abundant natural bounty and rich cultural heritage. Okeechobee
means "Big Water” in the Miccosukee language. The region is still the land of Native Americans, extensive agriculture and
world-class fishing. Now this area between Fort Myers and West Palm Beach boasts The Big Water Heritage Trail , a scenic
driving tour showcasing the region. This guide into Florida’s heartland helps visitors explore the region around Lake
Okeechobee, the second largest lake in the United States.

“The Big O” as locals call it, has built resilience from often painful lessons at the hands of both Mother Nature and
mankind. Seminole Indian battles took place in this area, and horrific hurricanes have blown through here. The Herbert
1 loover Dike was built after the deadly hurricane of 1928 claimed the lives of an estimated 2,500 people. The three-story
dike completely encircles the 730-square-mile lake, and obscures the view of Lake Okeechobee from the road. In more
recent times, the area played an important role in World War II, and with almost a half-million acres of farmland, plays a
significant role in Florida’s agriculture industry today.

Approximately 90 minutes from either coast, routes to the lake include U.S. 27, one of Florida’s original highways;
“Sweet Route 80” State Road 80 through sugar cane fields to Clewiston; or State Road 70 or U.S. 98 into Okeechobee.
Numerous towns ring the lake, while local farms and ranches offer behind-the-scenes tours demonstrating early pioneer
life. The Big Water Heritage t rail guide identifies opportunities for recreation, adventure or relaxation for the whole family.
Break away from the familiar and experience Florida’s rural heartland on the Big Water Heritage Trail.

BIG WATER HERITAGE TRAIL bv kerr , l. post

Discover the

Lake Okeechobee Area

HIGHLIGH
ALO
THE BIC
WATER
HERITA

TRA

OKEECHOBEE
Okeechobee County

The Okeechobee Livestock
Market was established in the
1930s and is the largest cattle
market in Florida, still host¬
ing cattle sales every Monday
and Tuesday. A historic

marker commemorates the
Battle of Okeechobee of 1837,
the largest battle of the Sec¬
ond Seminole War. Battle re¬
enactments take place every
January. A visit to the 35,000-
acre Brighton Seminole In¬
dian Reservation offers the

experience of Florida’s Na¬
tive American culture and
heritage.

PORT MAYACA AND
INDIANTOWN
Martin County

The St. Lucie Canal, the only
waterway connecting Florida
communities on the Atlantic
Ocean to those on the Gulf
of Mexico, flows into Lake
Okeechobee at Port Mayaca.
The FEC Railroad Bridge,
crossing over the St. Lucie
Canal, contains a 56-foot ver¬
tical lift to allow boats to pass.

Just east of this area is the
DuPuis Management Area.
Countless species of wildlife,
including turkey, quail, fox,
deer, bobcat, squirrel, bald
eagle, hawk and owl make
their homes in this vast land
of pine flatwoods, scrub cy¬
press, wet prairie and marsh.
Bordered by the St. Lucie Ca¬
nal, Indiantown is a quaint,
small town situated in the
heart of Florida’s citrus and
cattle country. The Seminole
Inn, built in 1927, is a charm¬
ing place to spend the night
or stop for a visit.

PAHOKEE, BELLE GLADE
AND SOUTH BAY
Palm Beach County

The Everglades Inn in
Pahokee was established in
1934 and recently restored to
its original charm. The Inn’s

FLORIDA HISTORY & THE ARTS

herb and fruit and vegetable
garden offers tropical delights
for visitors to enjoy. Just south
of Pahokee in Belle Glade is
Sem-Chi Rice Processing.
Short for Seminole Chief, this
organic rice is grown by the
Florida Crystals Company in
rotation with sugar cane to
help restore the soil each sea¬
son. In the Belle Glade
Branch Library, the Lawrence
Will Museum features early ar¬
chaeological treasures and
historical records of the area.
The Torry Island Swing
Bridge is one of the few re¬
maining hand-cranked swing
bridges in Florida. It was
barged to Lake Okeechobee
in 1939 from a location on the
Intracoastal Waterway and
today allows access to the is¬
land and the famous Draw¬
bridge Cafe.

CLEWISTON
Hendry County

Roland Martin’s Lakeside Ma¬
rina and Resort offers the larg¬
est guide service in the area
and hosts world-class tourna¬
ments year-round. Sugarland
Tours offers sugar cane and
citrus farm tours that include
lunch at the historic Clewiston
Inn. At the Inn, the 1945 Ev¬
erglades Mural wraps around
the walls of the Everglades
Lounge. The Clewiston Mu¬
seum features an exceptional
collection from the early days
of Clewiston and the
Okeechobee region. Forty
miles south of town is the
largest Seminole reservation,
the Seminole Big Cypress
Reservation. Visit the Ah-Tah-
Thi-Ki Museum, or go on a
Billie Swamp Safari or Ever¬
glades Eco-Adventure Tour.

MOOREHAVEN,
ORTONA AND
PALMDALE
Glades County

The Brighton Seminole Res¬
ervation, one of five in
Florida, sits on 35,000 acres
of land primarily used for
cattle production and agri¬
culture. The Seminole Bingo
Casino and campground
welcomes visitors to the res¬
ervation. On U.S. 27 near
Palmdale is Gatorama. One
of Florida’s first alligator at¬
tractions, since 1957,
Gatorama has offered visi¬
tors close-up views of these
ancient reptiles in a natural
setting. Farther southwest
along S.R. 78, Ortona Indian
Mound Park features rem¬
nants of a large prehistoric
Indian village, including
mounds and artifacts. SI

To Learn More

Request a copy of the Big Water
Heritage Trail brochure from the
following area chambers:

Clewiston Chamber of Commerce
Call 863.983.7979 or visit
www.clewiston.org

Okeechobee Chamber of
Commerce

Call 863.763.6464 or visit
www.okeechobee-tdc.com

Glades County Chamber of
Commerce

Call 863.946.0440 or visit
www.gladesonline.com

Indiantown Western Martin
County Chamber of Commerce
Call 772.597.2184 or visit
www.indiantownfl.org

Pahokee Chamber of Commerce
Call 561.924.5579 or visit
www.pahokee.com

For additional visitor
information and an
interactive Florida map
and trip planner, visit
www.FLAUSA.com.

VISIT FLORIDA is the
Official Tourism
Marketing Corporation
for the State of Florida

:

WINTER 2004

23

MIXED

MEDIA

IN PRINT

A SAMPLING OF NEW FLORIDA TITLES

With his latest book, INDIANS OF CENTRAL AND SOUTH FLORIDA 1513-1763 (Univer¬
sity Press of Florida ), John H. Hann, historian at the San Luis Archaeological and His¬
toric Site in Tallahassee, completes a series of volumes on Florida’s Indians. This book
offers the first survey available of Indians of the peninsula south of Timucua and
Apalachee territory, from their earliest contact with Europeans to their disappearance in
the 18th century. He also analyzes archaeological investigations from the last quarter
century, particularly those involving the Calusa and the Tequesta living at the mouth of
the Miami River. The Florida Fish and Wildlife Conservation Commission magazine
Florida Wildlife came to the end of a 56-year run at the end of 2003. The good news is
that a 96-page anthology has been compiled, featuring 35 articles and images published
in the magazine since 1947 A FLORIDA WILDLIFE MAGAZINE ANTHOLOGY 1947-2003,
may be purchased for $12.95 by writing Wildlife Foundation of Florida, Inc., P.O. Box
11010, Tallahassee, FL 32302. In FLORIDA'S SEMINOLE WARS 1817-1858 (The Making
of America Series, Arcadia Press) historian Joe Knetsch pairs historic images with a
comprehensive narrative, providing readers with an evocative and well-documented
tale. Knetsch examines the tumultuous period in Florida’s past, during the first half of
the 19th century, when Florida’s Seminole Indians frustrated troops of militia and vol¬
unteer soldiers in their ongoing struggle to keep hold of
their ancestral lands. WALDO'S MOUNTAIN—A BRIEF
HISTORY OF A SMALL ELEVATION (RiverviewPress) is an
engaging tribute by Sean Sexton to what proved to be
the final creative efforts of his grandfather, Indian River
County pioneer and visionary, Waldo Sexton. With fam¬
ily photos and personal recollections, Sexton tells the
story of the creation of Waldo’s Mountain in Vero Beach
in the late 1950s. At the age of 73, 20 years after he built
the Hall of Giants at McKee Botanical Garden, Sexton
shaped a pile of dredged river bottom into a fantastic
mountain adorned with Spanish tile steps and king and
queen thrones. Waldo’s Mountain is long gone but the
story of its creation and demise is vividly preserved.

John H.

ONLINE: ON TEACHING HISTORIC PLACES

www.cr.nps.gov/nr/twhp is the Web site of Teaching with Historic Places (TwHP), a program of the
National Park Service's National Register of Historic Places. TwHP uses properties listed in the National
Register of Historic Places to enliven history, social studies, geography, civics, and other subjects. TwHP lesson
plans turn students into historians as they study primary sources, historical and contemporary photographs

and maps, and other documents, and then search for the history around
them in their own communities. Students learn about the past by
actively examining places to gather information, form and test
hypotheses, piece together “the big picture,” and bridge the past to the
present. By seeking out nearby historic places, students explore the
relationship of their own community’s history to the broader themes
that have shaped this country.

24

FLORIDA HISTORY & THE ARTS

ILLUSTRATIONS: TOP: LARRY MOORE; BOTTOM: MARK RUCKER

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

ART SCENE ——

ORLANDO OPERA - RICOLETTO

In 2004, the Orlando Opera enters its 45th sea¬
son, bringing outstanding opera and world-class
artists to the Central Florida community. This spring,
the Orlando Opera will present Cuiseppe Verdi's
Rigoletto, an opera favorite that was considered
shocking when it premiered in Venice in 1851.
Rigoletto was the first of what is known as Verdi's
popular trilogy, followed by La Traviata and II
Trovatore. Highly dramatic, fast-paced, turbulent,
and powerful, Rigoletto deals with the ever-popular
concepts of love, jealousy, murder and revenge, but
it is the crafting of Verdi's compelling music that
truly brings the characters to life.

Rigoletto will be performed in Italian with En¬
glish supertitles, Friday, March 19 at 8 p.m., Sun¬
day, March 21 at 2 p.m., and Tuesday, March 23 at
7:30 p.m. Ticket prices range from $20 to $65. To
order, call the Orlando Opera box office at
407.426.1700.

In 2003, 94% of the Orlando Opera's $2.7 mil¬
lion budget fed back into the Central Florida
economy. Currently listed on the State Touring Ros¬
ter of the Division of Cultural Affairs, Orlando Op¬

era makes opera affordable and accessible to

Florida’s schools

•"*’ ?>. Jf/ ™

and rural popula¬
tions. For the
2003-2004 sea¬
son, Orlando Opera received a National Endowment for the Arts access grant,
allowing the opera to expand its touring program in Northwestern Florida. In
addition, the company has received The Community Foundation of Central Florida
Grant for a new community outreach program, Opera for Seniors. This initiative
addresses the needs of those who are unable to attend art events due to limited
incomes and/or limited mobility. To learn more about the Orlando Opera, visit:
www.orlandoopera.org.

WINTER 2004

25

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

ART IN

UNFAMILIAR PLACES

Featured piece: Pippo Lionni, France

COEXISTENCE

rt speaks a universal language. There are no boundaries as it reaches people of all ages, religions and
cultures. Based on this concept, the Museum on the Seam for Dialogue, Understanding and Coexistence in Jerusalem
produced a thought-provoking, giant outdoor poster exhibition entitled Coexistence, which has been making its way
across the world.

The Florida Holocaust Museum in St. Petersburg has brought Coexistence to four Florida cities. Making the first stops
of its North American tour, the large outdoor display consists of a series of 33 panels, each approximately 1 6 feet wide
and 10 feet high, created by artists from around the world. Each panel expresses the theme of “coexistence.” The
striking posters are intended to raise consciousness and encourage dialog in each of the cities they visit, promoting
nonviolent solutions to conflict and the need for tolerance and understanding.

In Florida, Coexistence will travel to St. Petersburg, Sarasota, Boca Raton and Tallahassee. The Florida Holocaust
Museum, with support from the Office of the Governor, the Florida Department of State and the Florida Department of
Education, is working with local committees in each city to develop community-based activities to coincide with the
exhibition. In St. Petersburg, the Pinellas County School District is providing tours of the exhibition for local school
children, and, in Sarasota, the Ringling School of Art and Design is holding a local art competition based on the
exhibition theme.

EXHIBITION LOCATIONS:

St. Petersburg - Straub Park, December 31,2003 to January 30, 2004; Sarasota - Waterfront, January 31 to February 28; Boca Raton -
Mizner Park, March 1 to March 31; Tallahassee - Capitol Plaza, April 1 to April 30.

To learn more about Coexistence , visit the Florida Holocaust Museum at www.flholocaustmuseum.org or Museum on the Seam at:
www.mots.org.ilA.

26

FLORIDA HISTORY & THE ARTS

A L E N D A R

WINTER
2 0 0 4

Through January 16
Tampa

Jim Campbell. The works of an en¬
gineer who has become a leading
artist in interactive electronic instal¬
lations are on display. University of
South Florida Contemporary Art
Museum. (813) 974-2849

Through January 25
Lakeland

Beaded Beauty: Art Objects from
South Africa. Polk Museum of Art.
(863) 688-7743

Through February 15
St. Petersburg

African-American Works on Paper
from the Wes and Missy Cochran
Collection. Includes work by Jacob
Lawrence, Romare Bearden, and
Sam Gilliam. Museum of Fine Arts.
(727) 896-2667

Through April 14
Gainesville

“The Printed Florida: Illustrated
Newspaper Images, 1800-1900.”
Florida through the eyes of the trav-
eling artists who worked for
Harper's Weekly and Frank Leslie's
Illustrated Newspaper. Matheson
Museum. (352) 378-2280

Through May 16
Tallahassee

Space Toys. Explore the history of
space and space travel through toys
and interactive experiences. The
Mary Brogan Museum of Art and
Science. (850) 513-0700

On the Road: The Kerouac
Scrolls Exhibit. Orange County
Regional History Center,
Orlando

January 8-11
Key West

22nd Annual Key West Literary
Seminar. San Carlos Institute. 1 -
888-293-9291

January 9-13
West Palm Beach

palmbeachcontemporary: The In¬
ternational Contemporary Art &
Design Fair. Twentieth- and 21 st-
century paintings, works on paper,
sculpture, photography, video in¬
stallations and design. Palm Beach
County Convention Center. (561)
278-0850

January 9-May 30
Jupiter

“Marjory Stoneman Douglas: One
Woman, The Everglades & the Rest
is History." Loxahatchee River His¬
torical Museum. (561) 747-6639

January 9-August 31
St. Petersburg

Dalf Centennial: The American Col¬
lection. Rarely exhibited works
from the permanent collection will
be displayed. Salvador Dalf Mu¬
seum. (727) 823-3767

January 10
Tampa

2004 Camellia Show. Tampa Bay
Area Camellia Society. (863) 858-
3789

January 10-March 21
Orlando

On the Road: The Kerouac Scrolls
Exhibit. Features the original manu¬
script for Jack Kerouac's novel On
the Road, created on several 12-
foot scrolls of paper. Orange
County Regional History Center.
(407) 836-8500

January 11
White Springs

Stephen Foster Day. An afternoon
musical program and carillon recital
in honor of National Stephen Fos¬

Stephen Foster Day,
Stephen Foster Folk
Culture Center State
Park, White Springs

ter Day and the legendary Ameri¬
can composer. Stephen Foster Folk
Culture Center State Park. (386)
397-2733

January 16-18
Miami Beach

27th Annual Art Deco Weekend.
Art Deco Weekend 2004 will cel¬
ebrate the Art Deco residences of
the 1930s and 1940s, with a look
at the architects who designed
them and the furnishings that made
them modern. Miami Design Pres¬
ervation League. (305) 672-2014

January 16-19
Tampa

2004 Tampa Bay Black Heritage
Festival. Various venues. (813)
218-3843

January 17-February 29
Largo and St. Petersburg

In a Brilliant Light, Recent Work.
The Gulf Coast Museum of Art in
Largo and the Kingdon Alan Gal¬
lery in St. Petersburg simulta¬
neously exhibit paintings by Punta
Gorda artist Fran Hardy. Also on
display at Brevard Museum of Art
and Science, March 4-May 9.
(727) 518-6833

January 18-19
Leesburg

Massenkoff Russian Folk Festival. A
festival of Russian song, dance and
music. Lake-Sumter Community
College. (352) 365-3506

January 18-May 30
St. Petersburg and Orlando

Chihuly Across Florida: Master-
works in Glass. The Orlando Mu¬
seum of Art and the St. Petersburg
Museum of Fine Arts present simul-
taneous exhibitions of Dale
Chihuly, preeminent glass artist.
Museum of Fine Arts. (727) 896-
2667, Orlando Museum of Art,
(407) 896-4231.

January 23-25
Fort Lauderdale

Paradise City Arts Festival. Broward
County Convention Center. 1 -
800-511 -9725

January 24
Lakeland

21st Annual Camellia Promenade.
This one-day show will feature hun¬
dreds of camellia blooms from
growers all over the South. Lake¬
land Camellia Society. (863) 688-
0916

January 24-25
Orange City

18th Annual Blue Spring Manatee
Festival. Blue Spring State Park and
Valentine Park. (386) 775-3663

January 24-April 4
West Palm Beach

Jewish Life in Ancient Egypt: A Fam¬
ily Archive from the Nile Valley.
Sculpture in stone, wood, and pre¬
cious metals, jewelry, and funerary
items bring to life the story of a
single family as described in eight
papyrus scrolls that were discov¬
ered in 1893 on Elephantine Island
in the middle of the Nile River in
Upper Egypt. Norton Museum of
Art. (561) 832-5196

January 27-March 21
Delray Beach

Hanten and Happi: Traditional Japa¬
nese Work Coats from the Sumi
Collection. A traveling exhibition
from Japan displays almost 50 eye¬
catching jackets and garments.
Morikami Museum and Japanese
Gardens. (561) 495-0233

January 28-February 1
Eatonville

15th Annual Zora Neale Hurston
Festival of Arts and Humanities.
Festival highlights include “Embrac¬
ing Eatonville: A Photographic Sur¬
vey.” Zora Neale Hurston National
Museum of Fine Arts. 1 -800-972-
3310

January 30-February 8
Miami

2004 Miami International Film Fes¬
tival. Florida International Univer¬
sity. (305) 348-5555

January 31
Dade City

Seventh Annual Kumquat Festival.
Greater Dade City Chamber of
Commerce. (352) 567-3769

January 31 -February 1
Big Cypress Reservation

Kissimmee Slough Shootout and
Rendezvous. Seminole War reen¬
actment, living history camps, tra¬
ditional dancing, and arts and
crafts. Ah-Tah-Thi-Ki Museum.
(863) 902-1113

27

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

CALENDAR

In a Brilliant
Light, Recent
Work by Punta
Gorda artist Fran
Hardy, The Gulf
Coast Museum
of Art in Largo
and the Kingdon
Alan Gallery, St.
Petersburg; also
Brevard Museum
of Art and
Science, Largo

January 31 -February 22
Fort Myers

2004 Edison Festival of Light Cel¬
ebrating the birthday of inventor
Thomas A. Edison. Edison & Ford
Winter Estates. (239) 334-2999

January 31 -March 28
Ocala

L Atelier de la Chapelle (The Artist
of the Chapel). A collection of more
than 50 large- and small-scale con-
temporary sculptures from a
women's artist collective in Paris,
France. The Appleton Museum of
Art. (352) 236-7100

January 31 -April 25
Sarasota

Renaissance to Rococo: Master¬
pieces from the Collection of the
Wadsworth Atheneum Museum of
Art. John and Mable Ringling Mu¬
seum of Art. (941) 359-5700

February 3-January 9, 2005
Winter Park

Sculpting Nature: The Favrile Pot¬
tery of L.C. Tiffany. Charles Hosmer
Morse Museum of American Art.
(407) 645-5311

February 4-September 24
Sarasota

Between Heaven & Earth - Reflec-

Art in the Park. Fort

Zachary Taylor State Park,
Key West

tion of Family Life. This exhibition
bridges the gap between East and
West, between ancient and modern,
spiritual and the worldly. Museum
of Asian Art. (941) 373-0300

February 6-8
Miami

11th Annual Miami International
Map Fair. Historical Museum of
Southern Florida. (305) 375-1492

February 6-March 1
Lakeland

Twenty-four Seasons in a Day: Four
Landscape Artists. FSC Melvin Art
Gallery. (863) 680-4111

February 8
Maitland

Maitland Arts Fest. Maitland Art
Center. (407) 539-2181

February 8-March 26
Key West

Art in the Park. Fort Zachary Tay¬
lor State Park is the setting for an
exhibition of outdoor sculpture.
(305) 295-3800

February 11-15
Lake Worth

FinnFest 2004. Learn about Finn¬
ish cultural heritage through mu¬
sic, theater, lectures, art, and mar¬
ketplace. Lake Worth Playhouse
and other venues. (561) 582-
0554

February 12-April 4
Fort Lauderdale

Impressions of Old South Florida.
Artwork representing South
Florida's architectural, natural and
cultural heritage. Bonnet House
Museum and Gardens. (954) 563-
5393

February 13-15
Davie

Seminole Tribal Festival. Native
American arts and crafts, alligator

28

wrestling, and bull riding. Bergeron
Arena. (954) 364-4221

February 13-15
Olustee

Olustee Battle Festival and Reen¬
actment. Celebration of Florida’s
only major Civil War battle. Olustee
Battlefield Historic Site. (386)
758-0400

February 14-16
Coconut Grove

41 st Annual Washington Mutual
Coconut Grove Arts Festival. Co¬
conut Grove Arts & Historical As¬
sociation, Inc. (305) 447-0401

February 24-May 2
Gainesville

Coming Home: American Paintings
1930-1950 from the Schoen Col¬
lection. Samuel R Harn Museum of
Art. (352) 392-9826

February 26-March 7
Plant City

2004 Florida Strawberry Festival®.
Arts, crafts and everything straw¬
berry. (813) 752-9194

February 28-29
New Smyrna Beach

Art Fiesta. Annual art show featur¬
ing artisans and crafters from
around the country. Old Fort Park.
(386) 424-2175

March 7
Dade City

Little Everglades Steeplechase. Little
Everglades Ranch. (352) 521 -3661

March 12-28
DeLand

The Biker's Experience. A juried
photography exhibition for art of
the bike and art reflecting the
biker's experience. DeLand Museum
of Art/Cultural Arts Center. (386)
734-4371

March 13-14
Pembroke Pines

Sixth Annual Art Festival in the
Pines. Pembroke Pines Academic
Village. (954) 986-5027

March 19-21
Winter Park

45th Winter Park Sidewalk Art Fes¬
tival. (407) 672-6390

March 20-21
Dade City

Annual Magnolia Festival. Pioneer
Florida Museum. (352) 567-0262

March 22-May 7
Stuart

Court House Cultural Center An¬
nual Juried Exhibition. A juried
showcase of the Treasure Coast’s
finest artists. The Arts Council, Inc.
(772) 287-6676

March 4-6
Sanibel Island

67th Annual Sanibel Shell Fair &
Show. Sanibel Community Center.
(239) 472-2155

March 6-7
Woodville

Battle of Natural Bridge Reenact¬
ment. Natural Bridge State Historic
Site. (850) 922-6007

March 26-28
Port Canaveral

SeaFest 2004. Cocoa Beach Area
Chamber of Commerce. (321) 459-
2200

March 27
Lake Wales

33 rd Annual Lake Wales Art Show.
Lake Wales Arts Center. (863) 676-
8426

Between Heaven & Earth — Reflection of Family Life.
Museum of Asian Art, Sarasota

CHELLE DELANEY

SPECIAL SECTION SPONSORED BY THE FLORIDA DEPARTMENT OF STATE

THE FATHER MIGUEL O'REILLY HOUSE MUSEUM

ST. AUGUSTINE

ugusin Verot from LePuy, France, was appointed vicar apostolic by Pope PiusIX in 1858, and became the first
bishop of St. Augustine in 1870. Bishop Verot had a special commitment to minister to blacks, and after the Civil War was
determined to provide education for the newly freed slaves and their children. The bishop went to France to recruit the
Sisters of St. Joseph in LePuy for this mission. In response, three professed sisters and five novices made the journey from
LePuy to St. Augustine. In January 1866, the sisters’ school for Negroes opened in St. Augustine on the O’Reilly House
property.

Father Miguel O’Reilly was an Irish priest who served during the Second Spanish Period in St. Augustine. His house, of
tabby construction with piers of coquina, is one of the 10 oldest buildings in the city, dating back to the First Spanish
Period. O’Reilly played a major role in building what is now the Cathedral of St. Augustine. In 1797 he conducted the
services that formally opened it. When he died in 1812, the O’Reilly House was willed to church authorities in trust for a
future religious community. In 1867, the building became the dwelling and classroom setting of the newly arrived Sisters
of St. Joseph.

The restoration of the O’Reilly House has been a longtime project of the Sisters of St. Joseph, which remains an active
diocesan community in St. Augustine today. In November 1974, the house was listed in the National Register of Historic
Places. With historic preservation grants-in-aid from the State of Florida, the house was restored in the 1990s to its 1840s
style and on June 7, 2003, Bishop Victor Galeone of the Catholic Diocese of St. Augustine was on hand to bless the
museum. A new museum exhibit recently opened to the public at the O’Reilly House Museum.

The Father Miguel O'Reilly House Museum is at 32 Aviles Street, St. Augustine. The museum is open free to the public each
Wednesday, Thursday, Friday and Saturday from 10 a.m to 3 p.m.

RAY STANYARD

MISSION SAN LUIS

A visit to Mission San Luis takes visitors back in time to the late 17th
century when a chain of missions extended from St. Augustine across
North Florida. Mission San Luis was the capital of the western
missions from 1656 to 1704. Its population of more than 1,500
residents included one of the most powerful Apalachee chiefs and a
Spanish deputy governor. San Luis was designated a National Historic
Landmark in 1960 and was purchased by the State of Florida in
1983. Today, an innovative, interactive exhibit on site features
hundreds of artifacts discovered during archaeological digs.
Excavation of the Spanish fort continues, and a new lab facility
supports efforts to uncover and interpret the rich history of this
significant site in Tallahassee.

R.A. Gray Building * 500 South Bronough Street
Tallahassee, Florida 32399-0250
www.flheritage.com • 800.847.7278